Methodical report "technique of bellows playing on the button accordion." Report "Fellow techniques for performing the button accordion" methodological development on the topic Technique of bellows and sound thinning

30.10.2019

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METHODOLOGICAL DEVELOPMENT ON THE TOPIC:

MOVEMENT DISTRIBUTION

BELLOWS WHEN PLAYING THE BAYAN

DEVELOPED:

Music teacher

WORK PLAN:

INTRODUCTION

I. Changing the direction of fur movements.

II. Principles of distribution of fur movements.

III. Technique for changing the direction of fur movements.

IV. REFERENCES

INTRODUCTION

The importance of issues of fur science in bayan performance, and therefore in bayan pedagogy, can hardly be overestimated. The bellows is involved in sound production on the button accordion, so different ways of playing it influence the nature of the sound. The dynamics of the sound depend on the intensity of the movement of the fur. In general, the button accordion sounds only when the bellows is moving. And the bellows moves alternately in two directions: expansion (to the left) and compression (to the right). Consequently, the accordionist must distribute all the musical material of the composition being performed into certain alternating bellows movements, that is, determine what segment (volume) of musical material will be performed for each specific movement, taking into account the texture of the work, its phrasing, dynamics, strokes, tempo, taking into account the physical characteristics of the accordion player himself, the quality of his instrument.

And although the distribution of fur movements has not yet become a common occurrence in students’ work on repertoire, its necessity has long become obvious. It has been proven by the very practice of playing the button accordion. Thoughtful, rational movements of fur greatly facilitate the solution of many technical and artistic problems.

It is impossible to plan the movement of bellows in a piece of music, or, as they say, to distribute bellows without clarifying another question: at what moments of live musical speech is it possible to change the direction of its movement from expansion to compression and vice versa without causing damage to the musical image unfolding in time.

I. Changing the direction of movement of the fur.

Often the change in the direction of movement of the bellows is associated with the breath of music, with the division of musical speech into phrases and motives. In this case, they proceed from the fact that “at the moment of changing the direction of movement of the bellows... there is a break in the sound.” This is where the general attitude towards changing bellows arose at moments of caesuras between musical constructions. Some accordion players began to consider the very change in direction of movement of the bellows as a means of performing semantic censorship. Oberyukhtin in the article “Dismemberment of music and change of direction in the movement of the bellows”, rightly noting that playing the button accordion without living breath is unthinkable, writes: “The competent, expressive pronunciation of musical speech by an accordion player (like a literary text recited by an actor with certain intonations and stops) depends precisely from determining the natural moment for every musical thought of changing the direction of movement of the bellows as a factor of dismemberment.

As we can see, M. Oberyukhtin sees the change in the direction of movement of the fur primarily as a means of performing caesuras. But in order to perform a caesura, it is not at all necessary to change the movement of the bellows - it is enough to simply remove your finger from the key or your hand from the keyboard.

Of course, some caesuras are performed precisely by changing the fur, but not all. Yu. Akimov, for example, believed that “changing the direction of movement of the fur is a vivid means of expressiveness, which should be used sparingly, at the moment the most important caesuras appear. It turns out to be the other extreme - the efficiency of moving the fur before the most important caesura appears. But saving the bellows means either slowing down its movement, which will lead to a decrease in the required level of sonority, or trying, without reducing the dynamics, to play more music per movement, which will lead to a lumpy sound. In any case, as a result of such savings, the truthfulness of the conveyance of the content of the work will suffer, and, as a rule, it is still not possible to finish playing on one bellows movement until the most important caesura (they usually separate fairly large constructions).

Yes, this is not necessary. After all, the depth of the caesura does not at all depend on whether the movement of the fur changes at that moment or not - in both cases, both a long and minimal caesura is possible.

Another thing is that the change in the direction of movement of the bellows itself is easier and more convenient to carry out at the moment of caesura between musical constructions. This is a generally accepted truth that no one objects to. Caesura is definitely the best place to change your fur.

However, in the practice of performing musical works, the bellows often has to be changed even where the caesura is not needed. And accordion players must learn to do this not only without “clapping” the sound, but also without creating a caesura. Sometimes you can still hear doubt: how can you avoid caesura when turning the bellows, if the voices sounding when the bellows moves into compression will begin only after the sound of the voices sounding when unclamping stops? Yes, turning the bellows prevents the “infusion” of one sound into another, but it is possible to bring the sounds closely together, preserving their character and the semantic connection between them.

Let us remember how often violinists have to change the direction of movement of the bow, but the continuity melodic line in the cantilena and the breadth of breathing is not disturbed. And we hear caesura where the musician deliberately makes it, and not in every change of bow movement. This means that by changing the direction of movement of the bow, the violinist does not violate the semantic connection between sounds, which unites their phrases. The accordion “bow” is somewhat heavier than the violin bow, but much longer - the accordion player plays more music with the movement of the bellows in one direction than the violinist with the movement of the bow up or down. This makes it possible to play an entire phrase without changing the direction of the bellows. This possibility determined the general rule of changing bellows at the moment of caesura between musical constructions.

Find a moment suitable for changing the fur at similar cases, is possible only with a tool in hand, since only by ear can one determine the possibility or, conversely, the unacceptability of changing the bellows in a particular place.

II. Principles of distribution of fur movements.

So, it is most advisable to change the direction of movement of the bellows at the moments of caesuras between musical constructions, but there is no need to subordinate its movements to the system of caesuras.

What requirements for the distribution of fur should be presented? There are three main requirements. This:

Ensuring the operation of the bellows within a certain opening amplitude;

Eliminating the need to save its movement;

Taking into account the influence of expansion and compression conditions on the ease of execution in individual places.

Let's look at these requirements in more detail.

The working amplitude of the bellows expansion is individual for each performer. It depends on his physical data and the size of the instrument.

The maximum amplitude for each accordion player will not be the one to which the length of his arm allows the bellows to be spread, but the one within which the left hand retains the ability to freely perform its functions, move freely up and down and control the sound. However, the amplitude of the release can be different when performing different compositions, depending on the character, texture, dynamics, tempo, strokes, and other factors.

For example, it is difficult to play with the bellows spread wide apart, especially after turning it to compress.

When the fur is not very distant (not very stretched), the conditions for the left hand to work are better, but when it is significantly removed, it noticeably worsens, of course, it all depends on the texture.

Perhaps every accordion player is familiar with the situation when, during a performance, at some point the bellows becomes stretched more than usual, that is, when it has “gone” beyond the usual amplitude of expansion. As a rule, this happens in pieces with rich texture and high sound dynamics. As a result of such an excess of the working amplitude, after turning the bellows to squeeze, the left hand is unable to control the sound or perform necessary work on the keyboard. To avoid such situations, you need to remember when distributing the fur that the denser the texture and louder the sound, the smaller the segment of musical material will be played for each of its movements.

So, first condition The distribution of fur movement should ensure the most convenient opening amplitude.

If the distribution of the bellows is insufficiently skilled, the accordion player may feel in some place during performance that he does not have enough of the remaining part of the release or compression to finish playing to the place where he must change the bellows. This forces him to slow down, which leads to an artistically unjustified decrease in sound dynamics.

Eliminating the need to save fur movements - second indispensable condition its distribution.

Any accordion player knows from music school that it is easier to play an unclamped accordion than a compressed one. However, the design of the button accordion predetermines the performance of approximately half of the music in compression. This design feature of the instrument is the norm for the accordion player from the very beginning and does not cause him any inconvenience. As a rule, any piece of music can be played with equal quality both unclamped and compressed.

Thus, identifying places for high-quality execution of which requires certain directions of fur movement and providing them with such - third prerequisite distribution of fur in a piece of music.

When thinking through the movements of the bellows in a musical composition, you need to take into account that with compression you cannot play the same volume of musical material as will be played with unclamping, with the same texture and dynamics, since when the bellows is compressed, its tightness deteriorates. Therefore, if you plan to play the first sentence in an unclamped manner, and the second in a compressed manner, then you need to start playing not with a tightly compressed bellows, but with a slightly loosened bellows.

If there are places in the piece that are performed by a tremolo stroke with the bellows, care must be taken that they begin with a minimum release of the bellows.

This also applies to the method of playing - detail, in which there is one movement of the bellows per sound or consonance. In accordion notes, this stroke is marked by signs of a change in the movement of the bellows after each sound or consonance.

In some episodes, the melody of which is a fast, continuous stream of sounds (for example, in some variations on folk themes), changing the bellows can be used as a means of performing semantic caesuras, of course, provided that the change of bellows at the moments of the caesuras does not contradict the three basic requirements. The appropriateness of this use can be justified by the fact that it is better than removing the finger, ensures minimal caesura and does not interfere with the evenness of movement and smoothness of sound.

It should be noted, however, that cases of such use of fur science are the exception and not the rule. The relationship between the moments of caesura and the moment of changing the bellows should be limited by the fact that the caesura is the most convenient for technical execution and the most advantageous moment for changing the bellows.

III. Technique for changing the direction of fur movement.

Changing the direction of movement of the bellows during a caesura or pause does not cause any difficulties for anyone: at a silent moment, the left hand easily transfers the direction of force from opening to squeezing, or vice versa. But such conditions are rare. More often, if there is a caesura in the melody in one of the elements of the texture, the sound in the melody at that moment continues.

You can practice the technique of caesurless fur change through exercises. For example, play with your right hand alternating two sounds, first with unilateral movements of the bellows (unclamping and squeezing), while achieving melodiousness of sound and tenuto density.

Then play these sounds with multidirectional movements of the bellows, ensuring that the degree of melodiousness and tenuto density achieved in the first option is preserved.

Having made sure that the goal has been achieved - the sounds sound equally dense and melodious in both methods of execution - you can also work on the sound sequence, making sure that in the second option (with multidirectional movements) each sound enters immediately with the required dynamic force.

After distributing the fur in the play, it is useful to practice changing it in certain, especially difficult places. This must be done at the opening amplitude at which the change will occur during the performance of the piece. In this case, one should achieve not just technical synchronization of the movement of the bellows and fingers, but the desired sound in this place. Having heard after two or three attempts that the result has been obtained, you must, keeping the sound under auditory control, repeat the technique (changing the bellows) several times. Muscle memory will remember the necessary movements of both hands.

IV. Conclusion.

There is an opinion among some accordionists that it is not difficult to distribute the bellows in a piece, but how to preserve it during performance, when unforeseen deviations from the performance plan are possible? But the fact of the matter is that rationally and skillfully distributing fur movements is not an easy task. And if during performance the accordionist feels some inconvenience due to the intended distribution or is forced to make special efforts to comply with it, then the distribution was made unsuccessfully and it should be reviewed. The purpose of distributing the movement of the fur is to facilitate the implementation of the artistic task, and not to complicate it.

The fur can be finally distributed only at a relatively late stage of work on the work, when its structure, dynamic plan, strokes are understood, when it will be played technically freely, at the right tempo. All previous distributions should be considered provisional. On the other hand, one cannot delay the distribution too much, since the “planned” movements of the fur must be established over time. This means that it is necessary to plan the mech not when the game has been learned, but when the technical basis for its execution has been outlined. And further, while continuing to improve the artistic and technical side of execution, it is necessary at the same time to confirm the planned movements of the fur. Only in this case will the “straightened fur” firmly enter the consciousness of the performer and will be performed automatically.

The distribution of fur movements is one of the most important tasks when the accordion player is working on musical composition. The quality (artistic result) and stability of performance during public performances, as well as the psychological well-being of the musician, largely depend on the correctness of its decision.

REFERENCES

1. Change of fur movement.

2. About the change in fur movement.

3. Dismemberment of music and change of direction in the movement of the fur.

4. School of playing the button accordion.

Ozirnaya Marina

MBOU DOD "Children's Music School named after. »

THEORETICAL ASPECTS OF FUR MANAGEMENT TECHNIQUES

ON BAYAN AND ACCORDION

Introduction

One of the main factors in a musician’s mastery is the cultivation of a culture of reproducing a full-fledged, aesthetically pleasing beautiful sound tool. Expressive sound is the foundation artistic performance musical work. The famous Soviet pianist and teacher Heinrich Neuhaus said: “Sound is the very matter of music, its fundamental principle.” Consequently, the performer’s efforts should be aimed not only at developing finger fluency, but also at forming an expressive sound.

Musical instruments such as the button accordion and accordion are capable of performing various strokes with various nuances, creating the finest thinning of sound, sharp dynamic contrasts and expressive dynamic flexibility. However, the sound capabilities of these instruments cannot be fully used and revealed without mastering the bellows technique.

Questions about the technique of bellows playing on the button accordion and accordion, in different times were solved by outstanding domestic teaching methodologists, such as P. Gvozdev, B. Egorov, A. Onegin,

Y. Akimov, V. Lushnikov, I. Purits, F. Lips, A. Romanov, A. Krupin and many other performers. In his book “The Art of Playing the Accordion” Friedrich Lips, great attention focuses specifically on issues of fur ownership. In his words: “Fur performs the function of lungs, “breathing life” into the work being performed.”

It should be noted that fur science is associated with such important issues of performing technique on the button accordion and accordion as sound production and sound science. F. Lips also points out that: “Fur, without exaggeration, is the main means for achieving artistic expression.”

In terms of their structure and sound production, the button accordion and accordion are classified as keyboard-reed wind instruments. The process of sound formation on these instruments is formed when two conditions are met: the movement of the fingers that control the keys, and the left hand that controls the movement of the bellows. Pressing a key opens the valve, and the movement of the bellows creates a flow of air onto it, which vibrates the metal reed (or voice) and thereby makes it sound.

By opening and closing the valves at different speeds, and at the same time using various methods of bellows that affect the intensity of air flows, the student begins, develops and completes the sounding process in the right character and dynamics. Both of these components are inextricably linked and cannot exist separately. Therefore, the student needs to understand the basic patterns, both in the actions of the fingers and in the methods of controlling the fur. But often in the process of performing a piece, the main thing for the student is only pressing the right key in the right rhythm, and the control of the bellows is at such a low level that it comes down to only a primitive, straightforward supply of air to the voice. In the future, such an attitude towards fur becomes a huge obstacle to expressive performance. It is important to note that the development of bellows technique directly depends on the degree of development of the student’s auditory perceptions and his motor activity.

Among the most common shortcomings in the bellows technique are: bellows jerking, incomplete sound, wide amplitude of bellows driving, lack of gradualness in crescendo and diminuendo.

Particularly relevant, as Joseph Puritz points out in his book “Methodological articles on teaching the button accordion,” is the problem of expressive performance on quiet sonorities, in piano nuances, where the most technically complex, differentiated, active control of the bellows is required. It is in playing the piano that the technical costs in the bellows technique are most noticeable.

In pedagogical practice, quite often one also has to deal with a low technical level of changing the direction of movement of the bellows, which is expressed in large caesuras, a change to sounding notes and in differences in dynamic levels. The reason for these shortcomings is the lack of necessary auditory control on the part of the student.

Thus, we can say with confidence that the formation and development of a student’s bellows technique is an urgent problem in accordion-accordion pedagogy, work on which must begin from the very first lessons. At the same time, the task of the teacher is to ensure that the student reaches such a level of mastery of bellows technique skills at which, based on the establishment of his auditory-motor relationships, he himself understands what bellows techniques and methods of bellows handling can be used to achieve the required sound character of a particular musical instrument. works.

The purpose of this work is to consider the theoretical aspects of the technique of bellows playing on the button accordion and accordion, necessary for the formation of the student’s performing skills.

The goal identified the following tasks:

· specify the rules that facilitate the mastery of fur handling techniques;

· identify the main difficulties and errors encountered in fur science techniques;

Motor-game methods of controlling fur on the button accordion and accordion

Where should work with a student begin to master the technique of fur handling? This question can be answered with confidence that the formation of fur control techniques begins with mastering motor-game methods of fur control, which are associated with rational seating of the student, stable placement of the instrument and correct position of the left hand.

I. Purits notes that “Work on mastering the technique of fur control should be built, starting from the first lessons, not allowing fur control to occur at an intuitive level. To do this, the student needs to: control the degree of tension of the fur; establish hand contact with the cover of the left half-body; follow the correct trajectory of the fur.

Correct fit student, as F. Lips emphasizes, must have three points of support: support on the chair, support on the feet, and support in the lower back. You need to sit at the front of the chair. The height of the chair should ensure that your legs are positioned at right angles, slightly apart, with your right leg slightly in front of your left leg. The musician's body should be slightly tilted forward. .

Setting up the instrument should ensure the student’s comfort and freedom of his gaming movements. The shoulder straps must be carefully adjusted, with the right strap being slightly longer than the left, which will allow the lower part of the right half-body to rest on the right thigh and create stability for the instruments when the bellows moves to compress. B. Egorov points out that: “Too loose belts lead to instability of the instrument (swaying) and cause an instinctive raising of the shoulders.” F. Lips, in turn, emphasizes that: “Tight belts can lead to the fact that the button accordion will be in to a greater extent hanging on them rather than kneeling."

The bellows chamber should stand firmly on the left hip, which allows the left body of the instruments to move freely without difficulty, while it is important to ensure that when opening and closing the bellows, the left leg does not rise and the instruments do not move in the direction of movement of the bellows.

Mech controlled left hand, physical activity which is extremely large due to direct play on the left keyboard. The length of the left work belt should be adjusted so that the hand does not dangle between it and the left side of the body. As B. Egorov notes: “A belt that is too long forces the performer to bend the wrist of his left hand, and a belt that is too short hinders the movements of the wrist.”

Thus, with a complete feeling of freedom, the left hand must be in constant contact with the belt and the half-body cover, which makes it possible to discreetly change the bellows (without a backlash-pause of the push) and ensure the finest thinning of the sound.

When opening the bellows, the main point of support of the left hand is the wrist, and when squeezing, the wrist and forearm. The technology for releasing the bellows is carried out by gradually straightening the left arm by extending it at the elbow joint. Having brought the fur to approximately the middle of its stretch, upper part arms, that is, the shoulder stops moving, and the second half of the bellows is moved to the end with only one forearm, thus, the arm straightens at this time, unbending at the elbow joint. When holding the bellows for compression, the sequence of movement of the left hand will be reversed.

Regarding the correct trajectory of the fur movement, then it is necessary to ensure that when playing, the fur moves in a fan-shaped manner, while, as A. Krupin and

A. Romanov: “Mechology should be carried out not according to the “left-right” principle, but “left-down and right-up”, which makes it possible to use the potential energy inherent in the left half-body of these instruments, which is in an elevated position. The fan-shaped movement of the bellows facilitates an even supply of air and ensures a stable position of the instruments during playing.

Fur technique

In terms of its significance, fur science can be compared with the breathing of a singer or with holding the bow when playing the violin. The entire versatility of dynamic shades on the button accordion and accordion directly depends on the nature of the air supply to the bellows. Therefore, every nuance and even its subtlest shade must be reflected by the appropriate movements of the fur.

The components of fur technology are:

Techniques for playing with fur - unclamping and squeezing;

Types of bellows handling - full bellows unclamping, bellows unclamping to the limit, playing with “short bellows”;

Techniques for maintaining the fur - the fur is constantly tense and the fur is pulsating;

Ways to change the movement of fur - noticeable by ear and invisible by ear;

Distribution of fur - division of musical speech, speed of movement of fur;

Methods of bellows dribbling – smooth dribbling, accelerating and decelerating movement, bellows jerking, dotted dribbling, bellows tremolo, vibrato.

Thus, in order for a student to master the technique of fur handling, the teacher needs to concentrate on solving three main tasks:

First, to teach the correct handling and correct change of direction of movement of the fur,

Secondly, to teach the proper distribution of the bellows, that is, the alternation of opening and closing the bellows according to the division of musical speech;

Third, teach different ways of handling fur.

The success of solving these problems depends both on the degree of desire of the student himself to master the technique of bellows handling, and on his auditory control and the development of motor skills of the left hand.

2.1. Techniques for playing with fur. Fur handling techniques.

There are two main methods of playing with the bellows on the button accordion and accordion - unclamping and squeezing.

There are two main methods of fur management:

1) the bellows is constantly tense (continuous) in which there are no pushes, jerks, “screams” and forcing of sound, which helps to feel the speed of the bellows movement, the smoothness and evenness of its movement;

2) pulsating bellows, when individual harmonies are performed with some stop in the movement of the bellows.

The variety of plays requires the use of a specific method of conducting fur. So, for example, in works with a wide, melodious sonority or with a polyphonic texture, the bellows is in constant tension. When playing acutely rhythmic or syncopated music, which necessitates the isolation of individual chords and harmonies, the bellows should be pulsating. There are also works where these two techniques of playing with fur are used together.

2.2. Types of fur management

A. Onegin, the author of the famous “School of Playing the Button,” draws attention to the fact that: “In the bellows technique, there are such concepts as: complete decompression of the bellows, partial decompression of the bellows, or playing the “short bellows” and decompression of the bellows to the limit.” .

Full release of the bellows is when the bellows is stretched wide, but not to the limit. The use of complete decompression of the bellows is inevitable when performing musical works of a polyphonic nature, cantilenas, or with a large increase in sonority or with wide breathing.

Playing with a “short bellows” requires less physical effort and the hands are less tense. On a “short bellows” it is more convenient to play active music, for example dance or marching music.

The greatest stability of the instruments and the best contact with them are achieved with medium and short amplitudes of opening the bellows.

Playing while expanding the bellows to the limit in the initial period is undesirable, as it increases the load on the left hand, which complicates the ability to flexibly control the bellows, complicates the movement of the fingers of the left hand, and also entails a weakening and interruption of the sound. But the use of a wide amplitude of bellows expansion is necessary when performing works that are distinguished by greater sonority and require a significant duration of sound. When expanding the bellows to the limit, the bellows must be guided in a gentle arc “towards you”, which the left hand describes around the performer’s body. In this way, maximum breathing breadth is achieved. When moving the bellows in a straight line or away from you, the amplitude of the release is inevitably limited by the length of the left arm, which leads to more frequent changes of bellows, which is not desirable.

In each specific case you need to look for best option fur movements in accordance with the artistic content and nature of the work.

It is important to remember that playing with a bellows that is too “wide”, depriving the melodic line of caesura, as well as frequent changes in the direction of movement of the bellows not on natural caesuras, leads to a distortion of the principle of dividing musical speech according to meaning, and therefore to a change in its interpretation.

B. Poteryayev believes that: “When performing musical works, changing the direction of movement of the bellows performs two functions: it dismembers musical speech and dynamically affects the beginning of constructions.” Therefore, it is important to teach the student to master both the full release of the bellows and its partial release, the choice of which is determined by a specific piece of music.

2.3. Ways to change fur movement

It must be said that in the initial period of training, a change in the direction of movement of the fur,

It seems to the student a simple and understandable action, but later, with the increase in artistic tasks, this technical technique becomes for him one of the complex technical tasks.

Correct change of bellows is one of the most important conditions for competent performance of musical works. Yu. Akimov in his textbook “School of Playing the Accordion” describes two ways to change the movement of the bellows:

Noticeable to the ear;

Invisible to the ear.

An audibly noticeable change in fur movement is used:

When it coincides with the beginning of motives, phrases, sentences and others structural elements, which in turn contributes to the natural division of the melody and “taking the breath”, but an important condition is the inadmissibility of bellows jerking;

When you need to highlight emphasis, syncopation or climax.

An aurally imperceptible change in the movement of the bellows is important when performing imitative polyphony and works with very large phrases or sustained sounds. In such works, several options for changing the movement of fur can be used:

Before the downbeat of a bar;

Before the accent;

Before the climax;

In a moment of pause.

It is important to note that it is the imperceptible change in the movement of the bellows that makes it possible not to disrupt the development of the musical idea of the work.

With a sustained sound, an imperceptible change of bellows is achieved provided that before and at the moment of changing the direction of the bellows, one, unchanged position of the hand under the left belt is maintained.

The student's mastery of noticeable and imperceptible changes in the movement of the bellows are important components of the bellows technique. It is the skillful change in the direction of movement of the bellows that is one of the main qualitative indicators of the performing culture of an accordionist and an accordionist.

To achieve the correct change in fur movement, the student’s serious attention must be paid to the following:

During the change of movement of the bellows, the musical thought should not be interrupted;

Do not allow a sharp involuntary jerk during a short moment of turning the bellows

Fully maintain the duration of the sound without allowing it to shorten;

Maintain rhythmic evenness in playing small notes, without speeding up or fussiness;

The dynamics after changing the fur should not change if there is no dynamic contrast and not disrupt the progression in diminuendo and crescendo.

2.4. Fur distribution

Consideration of the issue of fur distribution is associated with the solution of two problems: the first is to correctly determine the places where the direction of movement of the fur changes in the work and the second is to master the control of the tension of the fur during expansion and compression.

M. Oberyukhtin in his article “The dismemberment of music and a change in the direction of movement of the bellows” indicates that: “The competent expressive pronunciation of musical speech depends precisely on the definition of the natural moment for each musical thought of a change in the direction of movement of the bellows as a factor in its dismemberment.”

As a rule, typical mistakes in the distribution of fur during the performance of works are:

There is not enough bellows to squeeze to accurately complete the musical construction. The first reason was that there was a weak release of the bellows; the second reason is that the compressed fur was “squeezed”;

The bellows expands to the limit due to the high consumption of air, as a result, dynamic development is disrupted and an unjustified jerk of the bellows to compress occurs;

The bellows is changed before the end of phrases, which distorts the natural “breath” of musical speech;

Inability to suppress sound for short durations.

These errors arise due to the student’s weak auditory control and insufficient development of motor skills of the left hand.

V. Lushnikov writes: “When playing on a full or “short” bellows, it is important that the student learns not only to sense the boundaries of the sound of musical constructions for expansion and compression, but also to correctly regulate the force of air supply.

It should be noted that among many specific features The following also applies to the button accordion and accordion: with an equivalent movement of the bellows in both directions, the sound when opening is somewhat louder than when it is compressed. As a result, a larger volume of musical material is played when unclamped than when compressed, and with the ff nuance, after the bellows is unclamped, a certain dip in the dynamics into compression is felt.

These skills in fur science require the performer to make precise calculations in controlling the fur. During the game, it is important to skillfully use the air supply in the bellows, that is, to achieve the necessary strength and sound quality while using the air in it economically. The bellows should not be brought to the extreme limits of expansion and compression to avoid lack of air and shocks when changing the bellows. In other words, the student must learn to “feel the fur.”

A number of factors should be taken into account in the distribution of fur movement:

A convenient moment for changing the movement of the bellows can be the beginning of musical constructions - motives, phrases, sentences, sections of parts;

The change of bellows between forte and piano (the “echo” effect) makes the contrast of formations more impressive;

In large phrases and sustained sounds, it is necessary to change the movement of the bellows before the strong beat of the beat;

In polyphonic works and in large form, a change in the direction of the bellows is necessary at the moment the theme enters, which makes its appearance more noticeable;

As you learn the piece, adjustments are allowed in transferring the change of bellows between motives and phrases, in view of the shift in tempo.

Consequently, the student must know not only how to change the bellows in a particular piece, but also where it is best to do this so as not to disrupt the logical structure of the melodic line and how to correctly “calculate” the force of its tension.

When working on fur distribution, Viktor Bryzgalin distinguishes three stages: initial, working (adjustment) and final.

· Initial stage includes the analysis and determination of places in the work that are favorable for changing the movement of the bellows, starting from the division of musical speech.

· The working (adjustment) stage is aimed at correcting the change of fur, since constant improvement of performance, the search for new performing solutions leads to line, tempo, dynamic changes in the game, and, accordingly, to a different distribution of fur. It is taken into account that the faster the tempo, the larger the semantic segment (or several segments) fits into the movement of the bellows in one direction or, as musicians also say, “per bellows.” At the same time, the installation is maintained that each part should end with compression of the bellows, and the next part should begin with release, as if “from the red line”.

· The final stage is the consolidation of the exact change of fur as a result of connecting all parts of the work into a whole.

Polyphonic music requires a special distribution of bellows, given the fact that, given the specific nature of the button accordion and accordion, it is impossible to perform all voices on them without breaking their melodic and phrased line by changing the bellows. Therefore, the distribution of fur is determined by the leading voice - the theme of the fugue or the solo melody in the interlude. Thus, the priority of the main melodic voice forces other voices to “adjust” to it, breaking them apart with a forced change of bellows.

2.5. Methods of fur management

The methods of bellows handling affect the character and strength of the sound. I. Purits points out: “The main task for a student when mastering methods of bellows handling is to develop sensations associated with different modes (degrees) of bellows tension and the sound results obtained depending on this. By concentrating on the movements of the fur and comparing physical sensations with the sound result, the student develops the motor-auditory skills necessary for flexible control of sound dynamics.

The main methods of guiding the bellows, which were outlined by B. Egorov in his article “On the question of systematization of accordion strokes,” include: even leading; acceleration or deceleration of fur movement; fur jerk; bellows tremolo; vibrato; dotted lead.

Smooth movement of the bellows during expansion or compression is achieved by a constant speed of movement of the bellows, due to the constant equal force of the left hand, which creates a constant level of pressure of the air stream on the reeds. Smooth guidance is due to the need to obtain an even, identical sonority, which is possible at all basic dynamic gradations from pp to ff.

It should be noted that with this method of fur science, students often encounter the mistake that when changing the direction of movement of the fur, the preservation of uniform dynamics is not observed. The reason for this is the formation of a dynamic “push”, due to the different efforts of the left hand when opening and closing the bellows.

Accelerating and decelerating the movement of the bellows, as a result of increasing or weakening the tension of the bellows, is used when it is necessary to obtain a uniform increase or decrease in sound. The dynamic nuances of crescendo and diminuendo on the button accordion and accordion are achieved precisely by resorting to this method of bellows playing. An essential point is for the student to realize that changes in the level of dynamics depend on the nature of the bellows, the degree of its tension, and not on the density of the touch on the keys. This fact will help to avoid an increase in the density of the touch (touch), which leads to irrational use of energy, stiffness of the gaming machine and roughness in the game. Note: to obtain an untempered glissando, it is precisely incomplete pressing of the key in combination with increased bellows guidance, which leads to a lower pitch.

As F. Lips points out: “A very important point is the ability to distribute crescendo and diminuendo over the required length of musical material. The most typical shortcomings in this regard are the following:

· The necessary crescendo or diminuendo is performed so sluggishly, limply that they are almost not felt.

· Strengthening (weakening) dynamics is performed not poco a poco, but in jumps, alternating with even dynamics.

· Cresсhendo does not reach the required volume and, as a result, does not lead to climax.

To avoid these shortcomings, the student needs to very carefully control

lyrate the efforts of the left hand applied to the bellows.

In performing practice, there is also a playing technique that simultaneously combines acceleration and deceleration of the movement of the bellows (that is, crescendo and diminuendo) on one sound or consonance, which is called thinning. Translated from French given word means “to pull a sound.” Filing can be used to revive a long sound within a phrase, in a cantilena on the final prolonged sound or chord, and even at short durations, when it is necessary to sharply “extinguish” the sound.

Fur Rush performed with a sharp short movement of the left hand. A jerk with the bellows is necessary when picking up or removing a sound, consonance with an accent, for a vivid display of the climax, performing syncopation, subito forte, sforzando, marcato strokes, martele. Usage this technique possible at a wide variety of dynamic sound levels.

Students usually learn the dynamic sforzando technique relatively easily if followed by a diminuendo. It is much more difficult to practice dynamic stress and then maintain the strength of sonority, which is achieved by even, strong tension of the bellows after a jerk. An even more complex skill is the combination of sforzando with the subsequent thinning of the sound into sreschendo, which is achieved by successively changing the dynamics on one sound or consonance: sforzando - subito piano - sreschendo - forte.

Dotted lead fur- driving the bellows in one direction, that is, to expand or compress, which alternates with its complete stop. This method of conducting with bellows is used when it is necessary to perform an accented sequence of several sounds or harmonies. The ending of the sound will be performed either with only the bellows, or with the bellows and fingers at the same time. This method Mechology is used when playing sharp rhythmic or syncopated music, which necessitates the isolation of individual chords and harmonies.

Tremolo bellows– fast, periodic change of bellows modes “unclamp” - “squeeze” on sound or consonance. At the same time, the beginning and end of the sound is carried out by the bellows, since the fingers hold the necessary keys pressed during this period of time. A variation of this technique is detache, in which a change in the direction of movement of the bellows for each new sound occurs simultaneously with the transition of the fingers to the corresponding keys.

Vibrato- frequent vibration of sound. Translated from Latin as “trembling”. There are many options for performing vibrato, both with the right and left hands. The vibrato performed by the left hand is directly related to the movements of the bellows. There are two options for fur vibrato: the first is rapid vibration of the palm of the left hand, and the second is light blows with the entire palm on the left half of the body at various points in the keyboard corner.

Conclusion

Successful mastery of fur handling techniques significantly enriches your arsenal expressive means button accordion and accordion. Thanks to the bellows, you can take full advantage of the sound capabilities of these instruments.

Rational posture, stable positioning of the instrument and correct position of the left hand are necessary conditions for successful control of the bellows.

The development of fur handling techniques must begin from the first lessons and continue at all stages of training, actively using the student’s auditory control and his motor skills.

Types, techniques of bellows, methods of changing the movement of bellows are determined by the nature of each specific piece of music and its genre.

The places where the direction of movement of the bellows changes are determined by the division of musical speech into motives, phrases, sentences, parts, as well as by taking the natural “breath” or the logic of the development of musical thought.

The distribution of fur, that is, the intensity of its execution, is determined by the dynamic development, nuances and strokes of the work. Thoughtfulness and thoroughness in the distribution of fur are guarantors of not only stable playing, a sense of psychological confidence and comfort in the performance process, but also a sign of the professionalism and culture of the performer.

Plays of different nature require mastery of certain methods of conducting fur. Mastery of bellows techniques is the ability of an accordion player and accordion player to use a dynamic scale - from pianissimo to fortissimo; fine dosing diminuendo and crescendo; this is mastery of strokes - from the most melodious to the most accentuated and clear.

Thus, mastering the bellows technique contributes to the formation of the student’s performing skills, expressive performance, vivid disclosure of the content of a musical work, as well as the successful creative activity of the future musician, both amateur and professional.

References

· Akimov, Yu. School of playing the button accordion. Textbook allowance. – M.: Publishing house. Soviet composer, 1989.

· Bryzgalin, V. Polyphonic Dictionary young performer. Ed. prof. Imkhanitsky, M. I. - Kurgan: World of Music, 2001.

· Gvozdev, formation of sound on the button accordion and its extraction / P. Gvozdev. In the collection: Bayan and accordion players - M.: Soviet composer, 1970.

· Egorov, B. General questions of formulation when learning to play the button accordion / B. Egorov. In the collection: Bayan and accordionists, Issue 2. – M.: Soviet Composer, 1974.

· Egorov, B. On the issue of systematization of accordion strokes. – In the collection: Bayan and accordionists, vol. 6. - M.: Publishing house. Soviet composer, 1984.

· Krupin, A.V., Romanov, in the theory and practice of sound production on the button accordion. – Novosibirsk, 2002.

· Lips, F. The art of playing the button accordion. – M.: Muzyka, 1998.

· Lushnikov, playing the accordion. Textbook allowance – M.: Publishing house. Soviet composer, 1987.

· Neuhaus, G. G. About the art of piano playing. – M., 1961.

· Oberyukhtin, M. Dismemberment of music and change of direction of fur movement. – In the collection: Bayan and accordionists, Vol. 4. – M.: Muzyka, 1978.

· Onegin, A. School of playing the button accordion. Textbook allowance – M.: Muzyka, 1967.

· Poteryayev, accordion player’s performing technique: monograph / Chelyab. State acad. culture and arts. – Chelyabinsk /, 2007.

· Purits, I. Methodological articles on teaching how to play the button accordion. – M.: Publishing house"Composer", 2001.

MUNICIPAL BUDGETARY INSTITUTION
ADDITIONAL EDUCATION "UINSKAYA"
CHILDREN'S SCHOOL OF ARTS"

Methodological report

“Working on the technique of keeping fur on

button accordion and accordion."

Compiled by:

Shaydullina Liliya Rafikovna , teacher I qualification category

MBU DO "Uinskaya Children's Art School"

2017

Working on the technique of bellows playing on the button accordion and accordion

Expressive sound is the basis of artistic performance of a musical work. Consequently, the performer’s efforts should be aimed not only at developing finger fluency, but also at forming an expressive sound. Musical instruments such as the button accordion and accordion are capable of performing various strokes with various nuances, creating the finest thinning of sound, sharp dynamic contrasts and expressive dynamic flexibility. However, the sound capabilities of these instruments cannot be fully used and revealed without mastering the bellows technique. It should be noted that fur science is associated with such important issues of performing technique on the button accordion and accordion as sound production and sound science. In his book “The Art of Playing the Bayan”, Friedrich Lips pays great attention to the issues of owning a bellows. In his words: “Fur performs the function of lungs, “breathing life” into the work being performed.”

Among the most common shortcomings in the bellows technique are: bellows jerking, incomplete sound, wide amplitude of bellows driving, lack of gradualness in crescendo and diminuendo.

In pedagogical practice, quite often one also has to deal with a low technical level of change in the direction of bellows movement, which is expressed in large caesuras, changes in the sounding notes and changes in dynamic levels. The reason for these shortcomings is the lack of necessary auditory control on the part of the student.

Motor-game methods of controlling fur on the button accordion and accordion

Where should work with a student begin to master the technique of fur handling? This question can be answered with confidence that the formation of fur control techniques begins with mastering motor-game methods of fur control, which are associated withrational seating of the student, stable placement of the instrument and correct position of the left hand.

Correct student seating position , as F. Lips emphasizes, must have three points of support: support on the chair, support on the feet, and support in the lower back. You need to sit at the front of the chair. The height of the chair should ensure that your legs are positioned at right angles, slightly apart, with your right leg slightly in front of your left leg. The musician's body should be slightly tilted forward.

Setting up the instrument should ensure the student’s comfort and freedom of his gaming movements. The shoulder straps must be carefully adjusted, with the right strap being slightly longer than the left, which will allow the lower part of the right half-body to rest on the right thigh and create stability for the instruments when the bellows moves to compress. Too loose straps cause the instrument to become unstable (swinging) and cause an instinctive lifting of the shoulders. In turn, tight belts can lead to the fact that the button accordion will hang on them to a greater extent than on your knees. The bellows chamber should stand firmly on the left hip, which allows the left body of the instruments to move freely without difficulty, while it is important to ensure that when opening and closing the bellows, the left leg does not rise and the instruments do not move in the direction of movement of the bellows.

Fur managedleft hand, The physical load on which is extremely high, due to direct playing on the left keyboard. The length of the left work belt should be adjusted so that the hand does not dangle between it and the left side of the body. A belt that is too long forces the performer to bend the left wrist, while a belt that is too short will restrict wrist movement. Thus, with a complete feeling of freedom, the left hand must be in constant contact with the belt and the half-body cover, which makes it possible to discreetly change the bellows (without a backlash-pause of the push) and ensure the finest thinning of the sound.

When opening the bellows, the main point of support of the left hand is the wrist, and when squeezing, the wrist and forearm. The technology for releasing the bellows is carried out by gradually straightening the left arm by extending it at the elbow joint. Having brought the fur to approximately the middle of its stretching, the upper part of the arm, that is, the shoulder, stops moving, and the second half of the fur is extended to the end with only one forearm, thus, the arm straightens at this time, unbending at the elbow joint. When holding the bellows for compression, the sequence of movement of the left hand will be reversed.

Regardingthe correct trajectory of the fur movement, then it is necessary to ensure that when playing, the fur moves in a fan-like manner. Mechanical engineering should be carried out not according to the “left-right” principle, but “left-down and right-up”, which makes it possible to use the potential energy inherent in the left half-body of these instruments, which is in an elevated position. The fan-shaped movement of the bellows facilitates an even supply of air and ensures a stable position of the instruments during playing.

Fur technique

The components of fur technology are:

Techniques for playing with fur - unclamping and squeezing;

Types of bellows handling - full bellows unclamping, bellows unclamping to the limit, playing with “short bellows”;

Techniques for maintaining the fur - the fur is constantly tense and the fur is pulsating;

Methods of bellows dribbling – smooth dribbling, accelerating and decelerating movement, bellows jerking, dotted dribbling, bellows tremolo, vibrato.

Thus, in order for a student to master the technique of fur handling, the teacher needs to concentrate on solving three main tasks:

First, to teach the correct handling and correct change of direction of movement of the fur,

Secondly, to teach the proper distribution of the bellows, that is, the alternation of opening and closing the bellows according to the division of musical speech;

Third, teach different ways of handling fur.

There are two main methods of playing with bellows on the button accordion and accordion.- this is expansion and compression.

Fur handling techniques.

2) pulsating bellows, when individual harmonies are performed with some stop in the movement of the bellows.

When playing acutely rhythmic or syncopated music, which necessitates the isolation of individual chords and harmonies, the bellows should be pulsating. There are also works where these two techniques of playing with fur are used together.

In each specific case, it is necessary to look for the best option for the movement of the fur in accordance with the artistic content and nature of the work.

Ways to change fur movement

It must be said that in the initial period of training, changing the direction of movement of the bellows seems to the student to be a simple and understandable action, but later, with the increase in artistic tasks, this technical technique becomes one of the complex technical tasks for him.

Correct change of bellows is one of the most important conditions for competent performance of musical works. Yu. Akimov in his textbook“The School of Playing the Accordion” describes two ways to change the movement of the bellows:

Noticeable to the ear;

Invisible to the ear

An audibly noticeable change in fur movement is used:

When it coincides with the beginning of motives, phrases, sentences and other structural elements, which in turn contributes to the natural division of the melody and “taking the breath”, but an important condition is the inadmissibility of bellows jerking;

When you need to highlight emphasis, syncopation or climax.

Before the downbeat of a bar;

Before the accent;

Before the climax;

In a moment of pause.

It is important to note that it is the imperceptible change in the movement of the bellows that makes it possible not to disrupt the development of the musical idea of the work.

To achieve the correct change in fur movement, the student’s serious attention must be paid to the following:

During the change of movement of the bellows, the musical thought should not be interrupted;

Do not allow a sharp involuntary jerk during a short moment of turning the bellows

Fully maintain the duration of the sound without allowing it to shorten;

Maintain rhythmic evenness in playing small notes, without speeding up or fussiness;

The dynamics after changing the fur should not change if there is no dynamic contrast and not disrupt the progression in diminuendo and crescendo.

Fur distribution

As a rule, typical errors in the distribution of fur when performing works are:

The bellows expands to the limit due to the high consumption of air, as a result, dynamic development is disrupted and an unjustified jerk of the bellows to compress occurs;

The bellows is changed before the end of phrases, which distorts the natural “breath” of musical speech;

Inability to suppress sound for short durations.

These errors arise due to the student’s weak auditory control and insufficient development of motor skills of the left hand. The skills of fur technology require the performer to make precise calculations in controlling the fur. During the game, it is important to skillfully use the air supply in the bellows, that is, to achieve the necessary strength and sound quality while using the air in it economically. The bellows should not be brought to the extreme limits of expansion and compression to avoid lack of air and shocks when changing the bellows. In other words, the student must learn to “feel the fur.”

A number of factors should be taken into account in the distribution of fur movement:

A convenient moment for changing the movement of the bellows can be the beginning of musical constructions - motives, phrases, sentences, sections of parts;

The change of bellows between forte and piano (the “echo” effect) makes the contrast of formations more impressive;

In large phrases and sustained sounds, it is necessary to change the movement of the bellows before the strong beat of the beat;

In polyphonic works and in large form, a change in the direction of the bellows is necessary at the moment the theme enters, which makes its appearance more noticeable;

As you learn the piece, adjustments are allowed in transferring the change of bellows between motives and phrases, in view of the shift in tempo.

There are three stages in the work on fur distribution: initial, working (adjustment) and final.

The initial stage includes the analysis and determination of places in the work that are favorable for changing the movement of the bellows, starting from the division of musical speech.

The working (adjustment) stage is aimed at correcting the change in fur, since constant improvement of performance and the search for new performing solutions leads to line, tempo, dynamic changes in the game, and, accordingly, to a different distribution of fur. It is taken into account that the faster the tempo, the larger the semantic segment (or several segments) fits into the movement of the bellows in one direction or, as musicians also say, “per bellows.” At the same time, the installation is maintained that each part should end with compression of the bellows, and the next part should begin with release, as if “from the red line”.

The final stage is the consolidation of the exact change of fur as a result of combining all parts of the work into a whole.

Polyphonic music requires a special distribution of bellows, since given the specific nature of the button accordion and accordion, it is impossible to perform all the voices on them without breaking their melodic and phrased line by changing the bellows. Therefore, the distribution of fur is determined by the leading voice - the theme of the fugue or the solo melody in the interlude.

Methods of fur management

The main methods of fur handling include: smooth driving; acceleration or deceleration of fur movement; fur jerk; bellows tremolo; vibrato; dotted lead.

Accelerating and decelerating the movement of the bellows, as a result of increasing or weakening the tension of the bellows, is used when it is necessary to obtain a uniform increase or decrease in sound. The dynamic nuances of crescendo and diminuendo on the button accordion and accordion are achieved precisely by resorting to this method of bellows playing. An essential point is for the student to realize that changes in the level of dynamics depend on the nature of the bellows, the degree of its tension, and not on the density of the touch on the keys. This fact will help to avoid an increase in the density of the touch (touch), which leads to irrational use of energy, stiffness of the gaming machine and roughness in the game. To avoid these shortcomings, the student must very carefully control the efforts of the left hand applied to the fur.

Fur Rush performed with a sharp short movement of the left hand. A jerk with the bellows is necessary when picking up or removing a sound, consonance with an accent, for a vivid display of the climax, performing syncopation, subito forte, sforzando, marcato strokes, martele. This technique can be used at a wide variety of dynamic sound levels.

Dotted lead fur - driving the bellows in one direction, that is, to expand or compress, which alternates with its complete stop. This method of conducting with bellows is used when it is necessary to perform an accented sequence of several sounds or harmonies. The ending of the sound will be performed either with only the bellows, or with the bellows and fingers at the same time. This method of fur research is used when playing sharp rhythmic or syncopated music, which necessitates the selection of individual chords and harmonies.

Tremolo bellows – fast, periodic change of bellows modes “unclamp” - “squeeze” on sound or consonance. In this case, the beginning and end of the sound is carried out by the bellows, since the fingers hold the necessary keys pressed during this period of time. A variation of this technique is detache, in which a change in the direction of movement of the bellows for each new sound occurs simultaneously with the transition of the fingers to the corresponding keys.

Vibrato - frequent vibration of sound. Translated from Latin as “trembling”. There are many options for performing vibrato, both with the right and left hands. The vibrato performed by the left hand is directly related to the movements of the bellows. There are two options for fur vibrato: the first is rapid vibration of the palm of the left hand, and the second is light blows with the entire palm on the left half of the body at various points in the keyboard corner.

Successful mastery of the bellows technique significantly enriches the arsenal of expressive means of the button accordion and accordion. Thanks to the bellows, you can take full advantage of the sound capabilities of these instruments. Rational posture, stable positioning of the instrument and correct position of the left hand are necessary conditions for successful control of the bellows. The development of fur handling techniques must begin from the first lessons and continue at all stages of training, actively using the student’s auditory control and his motor skills.

Types, techniques of bellows, methods of changing the movement of bellows are determined by the nature of each specific piece of music and its genre.

References

Akimov, Yu. School of playing the button accordion. Textbook allowance. – M.: Publishing house. Soviet composer, 1989.

Bryzgalin, V. Polyphonic dictionary of a young performer. Ed. prof. Imkhanitsky, M.I. – Kurgan: World of Music, 2001.

Gvozdev, P.A. Principles of sound formation on the button accordion and its extraction / P. Gvozdev. In the collection: Bayan and accordion players - M.: Soviet composer, 1970.

Egorov, B. General questions of formulation when learning to play the button accordion / B. Egorov. In the collection: Bayan and accordionists, Issue 2. – M.: Soviet Composer, 1974.

Egorov, B. On the issue of systematization of accordion strokes. – In the collection: Bayan and accordionists, vol. 6. - M.: Publishing house. Soviet composer, 1984.

Krupin, A.V., Romanov, A.N. New in the theory and practice of sound production on the button accordion. – Novosibirsk, 2002.

Lips, F. The art of playing the button accordion. – M.: Muzyka, 1998.

Lushnikov, V.V. Accordion school. Textbook allowance – M.: Publishing house. Soviet composer, 1987.

Oberyukhtin, M. Dismemberment of music and change of direction of fur movement. – In the collection: Bayan and accordionists, Vol. 4. – M.: Muzyka, 1978.

Onegin, A. School of playing the button accordion. Textbook allowance – M.: Muzyka, 1967.

Poteryayev, B.P. Formation of the accordion player's performing technique: monograph / Chelyab. State acad. culture and arts. – Chelyabinsk / B.P. Poteryayev, 2007.

Purits, I. Methodological articles on teaching how to play the button accordion. – M.: Publishing house “Composer”, 2001.

In our time, when polyphony has taken a strong place in the educational and concert repertoire of accordion players, there has been an urgent need to develop a theory of its performance at a higher level.
Among the most important and specific problems that require a consistent solution are issues related to changing fur.

Driving the bellows is the most important means of producing sound when playing the button accordion. The main prerequisite for achieving coherence in the execution of sounds in their sequence is non-stop driving of the bellows. However, continuous movement of the fur is possible only with its unidirectional movement.
During the course of the game, there come moments when moving the bellows in any one direction reaches a critical or intended limit and in order to continue sounding, it is necessary to continue moving the bellows in another direction. Changing the direction of movement of the bellows to the opposite dismembers the sound.

The reason for the dismemberment, according to I. Alekseev, is that “at the moment of changing the direction of movement of the bellows, there is a break in the sound”
Achieving perfection in the technique of changing bellows is often associated with the ability to change the movement of bellows without noticeable interruption.
However, despite the high perfection of the technique of changing the bellows, it cannot be carried out completely unnoticed in a number of plays of a cantilena nature.
It is also necessary to note such a factor of dismemberment as the accentuated sound at the beginning of the opposite bellows, which arises voluntarily or involuntarily, when overcoming the inertia of rest of the reeds of the sound produced is carried out more energetic movement fur.
Techniques for smoothly changing fur can reduce or eliminate the appearance of emphasis and significantly weaken the impression of dismemberment.

The coherence and dissection of sounds on the button accordion are not directly dependent on the unifying movement of the bellows. It is possible to perform not only legato, but also various degrees of non-legato and staccato in one bellows movement. Changing the direction of movement of the bellows in this case is necessary mainly to continue the sound.
Such a change of fur in some cases may cause inappropriate dismemberment of the musical fabric, in others, on the contrary, it can help to emphasize the dismemberment.
The most acceptable change of fur is one that coincides with the differentiation of tones and structures. In this case, it can serve simultaneously both to continue the sound and to dismember the action.
The main function of the change of bellows is the continuation of sound, and its dismembering effect can carry various variable functions, not only from the point of view of appropriateness, but also in cases where they coincide with any intended dismemberment. These functions change each time depending on what is actually being divided (or emphasized) at any given moment by the change of fur. Thus, if the change of bellows coincides with the semantic delimitation of constructions and contributes to it, then we can talk about its phrasing function, and if it is involved in the expression of metric support, obtaining a dynamic accent, then we can talk about its rhythmic or some other meaningful function. By emphasizing the climactic peaks of the melody by changing the bellows, we combine its effect with its expressive function. When the dissection and tension of a melodic leap coincides and is emphasized by a change in bellows, it can be argued that it has an intonational function.
Enumeration of those combined with a change of fur variable functions You can continue, specifying them depending on artistic goals.

The many meanings of these functions are explained by the fact that they are based on division, which is widely used at various levels of organization of musical material - from elementary line division individual sounds to the dismemberment of sections and parts of the composition. In this sense, I. Braudo’s indication of the need to understand the function of articulation in the plural is noteworthy.
Often, changing bellows simultaneously carries several variable functions: for example, articulatory, expressive, phrasing, etc. The number of combinations increases as the number of voices in polyphony or texture layers in polyphony increases. But at the same time, the difficulties of combination also increase.
With an artistically complete combination of functions, the change of fur turns out to be less noticeable, because its dismembering effect does not violate the content-semantic structure of the musical structure.
The choice and formation of the moment of changing the bellows is an extremely important and complex problem in working on polyphony, which will be discussed in the article.
Fur changes are widely carried out in places where the melodic line is divided into phrases (motifs, sentences), especially in homophonic music, where the melody being divided is the main, leading voice.
However, in polyphonic music, consisting of several melodically developed voices, the moments of their syntactic division do not coincide in time.
Therefore, the implementation of a change of fur, taking into account the semantic delimitation of only one voice, can cause unwanted divisions in other voices. These include the dismemberment of a stretching sound.

Consequently, when determining the moment of changing the bellows, it is necessary to take into account the logic of the deployment of the melodic line of each voice of the polyphonic fabric, avoiding unwanted divisions in them. To do this, it is necessary to find and mark a place where carrying out the division in all voices at the same time will not introduce noticeable distortions into any of the voices sounding together.
The result of dismemberment is usually a caesura.
The simultaneous caesura in all voices, necessary for changing the bellows, is formed only if several caesuras coincide in time, each of which can be obtained either in the places of demarcation of semantic units, or between dismembered tones within them, or by various shortenings of the durations of sounds.
The unity or dismemberment of the sequence of tones, which determines the presence and number of different caesuras, is usually indicated in the musical text.
It is known that keyboard and organ works Bach's works, widely performed today on the button accordion, have come down to us mainly without the author's articulatory and other performance instructions. The existence of many editorial editions of these works, each of which provides for its own articulation that differs from the others, makes it possible to notice not only discrepancies and contradictions in them, but also suggests the possibility of justifying other legitimate options for articulation, in in this case due to the need to change the bellows when performing them on the button accordion.

MBU DO "DSHI" MO "Sengileevsky district"

Methodological report

“Technique of bellows playing on button accordion”

Prepared

button accordion teacher T.N. Sleptsova

Krasny Gulyai village

2016

Associated with the movement of fur the most important features sound formation on the button accordion – melodiousness, breadth of “breathing”, dynamic flexibility, etc. These potential capabilities of the instrument determine the main direction of the performer’s (student’s) work in the field of sound production - achieving a melodious, expressive sound. In-depth work at all stages of education should be devoted to solving this important problem.

Smooth non-stop driving of the fur, soft and precise change of its direction

Reproduction of metric pulsation;

Expressive pronunciation of metrical pulsation;

expressive pronunciation of dynamic contrasts, maintaining sufficient tension in the piano, melodiousness in the forte;

Convincing execution of crescendo and diminuendo - a consistent increase and such a gradual decrease in sonority, and the ascending and descending waves should be carried out both by changing the dynamics within each duration, and in another way - terrace-like (stepwise), with the internal dynamic evenness of each individual step of the dynamic ladder;

Sound shaping, performing caesuras and dynamic effects (accents, sforzandos);

Diverse pronunciation of the main and minor elements of a musical text.

The formation of bellows skills and their organic use in artistic material is one of the most pressing issues, primarily in the training of beginning accordion players. Often the bellows technique is at a low level, which comes down to only a primitive, straightforward supply of air to the voices of the button accordion. Even the most unpretentious performance on the button accordion causes motor tasks that require certain finger skills. The fur does not attract attention to itself - the main thing is to press the key in the desired rhythm. Often, the student already has a good grasp of keyboards, his finger activity is noticeable, but his mastery of the keyboard lags behind.

The problem of expressive performance on quiet sonorities, in the nuances of the piano, where the most technically complex, active control of the bellows is required, is especially relevant. The smallest gradations of the tension force of the bellows on short sections of musical fabric, the ability to instantly stop it and start a new movement - all this, in organic combination with the movement of the fingers, creates the basis for masterful mastery of sound.

It is in playing the piano that the technical costs in the bellows technique are most noticeable, since the sound immediately becomes inexpressive - the music, the button accordion, the performer seem gray, faceless, lifeless. Of the other, most common shortcomings in the bellows technique, the most noticeable in the initial period of training are such as the wide amplitude of its conduct, the inability to extinguish the sound for short durations, the lack of gradualism in crescendo and diminuendo. A low technical level when changing the direction of bellows movement is most often expressed in large caesuras, changes in sounding notes, and changes in dynamic levels. Let's consider the technique of guiding the bellows when thinning the sound, as well as the technique of changing the direction of movement of the bellows - unclamping, squeezing. Without this, it is impossible to perform even the simplest exercise or piece with high quality.

Sound shaping as the most important means of expressive performance. Every teacher who works professionally on sound knows perfectly well how difficult it is for a student to master even the most basic skills of sound production on the button accordion.

The success of the efforts will depend on the degree of development of the student’s auditory concepts, the active work of the ear during the game, and the desire to translate the imaginary sound into the real one as accurately as possible. It is this nature of hearing that will contribute to the development of the motor side of the skill, establishing the relationship between hearing and motor skills.

Everything related to fur science, one should not think that fur control occurs on an intuitive level, obeying auditory ideas. It is important to determine the degree and nature of control over motor sensations. But excessive control can be no less harmful than a game left to its own devices. Only the consequences will be different. In the first case, stiffness and unnatural movements (especially among the most diligent students who strive to accurately fulfill the will of the teacher), in the second - the student’s lack of training, lack of mastery of basic skills in fur science. It is necessary to draw the student’s attention to the feeling of the degree of tension of the bellows, the smoothness of its movement when filing the sound, the contact of the left hand with the cover of the left half-body, the correct trajectory of the bellows and rational landing.

The starting points in the technology of developing fur skills are: landing, adjusting belts, installing tools. Pay special attention to the adjustment of the work belt. A belt that is too tight will restrict the movements of the left hand, while a loose one will not allow the student to perform any of the techniques or methods of controlling the fur efficiently.

The right shoulder strap is adjusted so that the bar rests against inner part thighs of the right leg. The left shoulder strap is tightened after the right one is adjusted and the position of the button accordion is fixed. The adjustment of the right belt determines the control of the bellows for expansion, and the left - for the stability of the instrument when playing for compression. You should choose a chair that matches the student’s height (legs should be bent at the knees at a right angle). Practical mastery of the basic skills of fur science begins already in the first lessons. Before the student picks up the button accordion for the first time, the teacher asks him to imagine that in his left hand he has a pencil, with which he must draw a horizontal line slowly and smoothly. If necessary, you can do this several times until the movement is correct. Making the first sound on the button accordion is an event for the student. It is very important to create a classroom environment appropriate to the significance of the moment. It’s good to talk in a few words about the structure of the button accordion in its part, which is associated with the formation of sound. There must be silence (let us remember Medtner’s wonderful words - “to draw sounds with the ear from the deepest silence”). Thus, from the very beginning, the quality necessary for acquiring various skills in sound production begins to form.

When mastering fur handling techniques, it is better not to distract the student’s attention with simultaneously assigned tasks for the fingers. An essential point is the student’s awareness of the fact that the change in dynamic level when playing the button accordion depends on the nature of the bellows, the degree of its tension, and not on the density of the carcass.

In the playing of novice button accordion players, one has to observe a noticeable difference in the quality of performing various technical techniques when playing with the release and compression. The equalization of levels in a student's technical development when playing with open and squeeze will depend to a large extent on how much the teacher manages to develop the student's ear. Hearing is the foundation for the formation of all sound production skills. All work can be controlled primarily with the help of hearing. In order for the ear to be “demanding”, the following method can be applied: the student masters a certain technique when playing with a squeeze; having achieved the desired sound result, he begins to master the same technique when playing with a squeeze. The goal is to achieve the same sound as when playing open-handed. Any button accordion player can play without much difficulty. own experience see how much easier it is to play marked, accented sounds,sfthose. perform methods such as jerking.

When playing on the spreader, there is less air consumption - the valves are attracted by the air to the deck; when playing on the compression, they are repelled (the difference is especially noticeable when playing onf). When putting fur changes in plays, you need to take this into account.

Stability in the fit, naturalness and ease are more noticeable when playing with the release. It is not uncommon to observe a shift of the button accordion to the right. Let us pay attention to such a feature of the button accordion as differences in the elasticity of the key stroke. When playing with an unclamp, the key stroke is more elastic than when playing with a squeeze. On expansion - the valves are attracted by the air flow to the deck, on compression - they are repelled from it. This feature is important in the formation of subtle touch sensations and some episodes in which a quick and easy finger technique is needed to play with squeeze. This feature of the squeeze game can be considered an advantage, because one of the technical principles is observed - economy of movements.

Playing the squeeze significantly relieves the pressure of the right belt on the shoulder, which helps free the right hand. It is known that a tight right belt constrains and limits the freedom of the right hand. This happens because the invoice load on right hand noticeably more than on the left.

By requiring the student to accurately perform a bellows change, the teacher solves not only the problem of developing this skill. How much more confident the student feels in a play with a marked and learned change of bellows. Confidence, and with it the accuracy, stability, and quality of the game is explained by the fact that with a competent change of bellows, both the means of expression (phrasing, articulation, dynamics) and the specific differences in the game of expansion and compression, as well as individual characteristics and the level of technical skills are taken into account. the development of a particular student, the quality of the instrument he plays. There is no doubt that a student who plays, for example, a passage, each time in the same direction of the bellows, automates its execution faster and more firmly than one who does not think about the problems without putting down the bellows.

Let's consider using the skills of thinning sound and changing the direction of movement of the bellows - unclamping, squeezing.

Knipper, "Polyushko-field". The student’s attention should be drawn to ensure that abrupt accompaniment chords do not lead to shuddering of the accordion body or jerking of the bellows, which will inevitably disrupt the smooth flow of the melodic voice. It is advisable to play the entire motive that concludes the piece using one bellows movement - squeezing. If this is not possible, then change the fur before the last “salt”, which will allow you to maintain naturalness in the articulation of the motif. It is important to achieve gradual thinning, complete dissolution of sound in silence. The sound is completed by stopping the bellows, followed by a smooth removal of the fingers (fur articulation).

In Bach's "Minuet" the structure is choric, which makes it appropriate to change the bellows between motives. With such a change of fur, both phrasing moments and supporting beats are emphasized. It is important to achieve even dynamics when the fur is taut. The milling with fur here is minimal on the B sounds that complete the motivesb and re.

Methodological literature used:

V.I. Petrushin. "Musical Psychology".

V.I. Renzin, Honored Worker of Culture of Russia, Associate Professor at UGF.

M.A. Umansky, senior lecturer at UGK

« Current issues history, theory and methodology of musical performing arts.”

I. Purits. "Methodological articles on learning to play the button accordion."

Govorushko Methods of teaching playing folk instruments